Quotes about beauty

page 52

Balder the Beautiful (1877)
Context: “O Balder, he who fashion’d us,
And bade us live and move,
Shall weave for Death’s sad heavenly hair
Immortal flowers of love.
“Ah! never fail’d my servant Death,
Whene’er I named his name,—
But at my bidding he hath flown
As swift as frost or flame.
“Yea, as a sleuth-hound tracks a man,
And finds his form, and springs,
So hath he hunted down the gods
As well as human things!
“Yet only thro’ the strength of Death
A god shall fall or rise —
A thousand lie on the cold snows,
Stone still, with marble eyes.
“But whosoe’er shall conquer Death,
Tho’ mortal man he be,
Shall in his season rise again,
And live, with thee, and me!
“And whosoe’er loves mortals most
Shall conquer Death the best,
Yea, whosoe’er grows beautiful
Shall grow divinely blest.”
The white Christ raised his shining face
To that still bright’ning sky.
“Only the beautiful shall abide,
Only the base shall die!”

Visions
Context: Then he came from the altar, showing himself as a child. And that child had the very same appearance that he had in his first three years. And he turned to me and from the ciborium he took his body in his right hand and in his left hand he took a chalice that seemed to come from the altar, but I know not where it came from. Thereupon he came in the appearance and the clothing of the man he was on that day when he first gave us his body, that appearance of a human being and a man, showing his sweet and beautiful and sorrowful face, and approaching me with the humility of the one who belongs entirely to another. Then he gave himself to me in the form of the sacrament, in the manner to which people are accustomed. Then he gave me to drink from the chalice in the manner and taste to which people are accustomed. Then he came to me himself and took me completely in his arms and pressed me to him. And all my limbs felt his limbs in the full satisfaction that my heart and my humanity desired. Then I was externally completely satisfied to the utmost satiation.

On Publishing
Writers at Work (1977)
Context: A book is like a man — clever and dull, brave and cowardly, beautiful and ugly. For every flowering thought there will be a page like a wet and mangy mongrel, and for every looping flight a tap on the wing and a reminder that wax cannot hold the feathers firm too near the sun.

On getting back into producing new music, interviewed on "Yusuf Islam's New Album" at CBS News (12 August 2007) http://www.cbsnews.com/video/watch/?id=2226452n&tag=related;photovideo
Context: A big turning point happened when my son brought back a guitar into the house — You know, 'cause I'd given all those guitars away to charity — way back in 1979 and hadn't really touched the instrument, you know, for like two decades. … So then one day … when everybody's asleep and nobody's watching, I pick it up — and lo and behold, I still know where to put my fingers and out comes this music. I said, "Maybe I've got another job to do." And in this time and period it's probably the best thing I can do because lecturing, politics, God, I've got nothing to do with that. I want to just get heart-to-heart, make sure people understand some of the real subtle beauties of what I've discovered.

What is Art? (1897)
Context: Such … was the theory (an outgrowth of Malthusian) of the selection and struggle for existence as the basis of human progress. Such again, is Marx's theory, with regard to the gradual destruction of small private production by large capitalistic production... as an inevitable decree of fate. However unfounded such theories are, however contrary to all that is known and confessed by humanity, and however obviously immoral these may be, they are accepted with credulity, pass uncriticized, and are preached … To this class belongs this astonishing theory of the Baungarten trinity — Goodness, Beauty and Truth — according to which it appears that the very best that can be done by the art of nations after 1900 years of Christian teaching is to choose as the ideal of their life that which was held by a small, semi-savage, slaveholding people who lived 2000 years ago, who imitated the nude human body extremely well, and erected buildings pleasing to the eye. Educated people write long, nebulous treatises on beauty as a member of the aesthetic trinity of beauty, truth, and goodness... and they all think that by pronouncing these sacrosanct words, they speak of something quite definite and solid... on which they can base their opinions. … only for the purpose of justifying the false importance we attribute to an art that conveys every feeling, provided those feelings give us pleasure.

National Book Awards, November 2014 https://www.newyorker.com/books/page-turner/national-book-awards-ursula-le-guin
Context: I think hard times are coming, when we will be wanting the voices of writers who can see alternatives to how we live now, and can see through our fear-stricken society and its obsessive technologies, to other ways of being. And even imagine some real grounds for hope. We will need writers who can remember freedom: poets, visionaries—the realists of a larger reality. Right now, I think we need writers who know the difference between production of a market commodity and the practice of an art. The profit motive is often in conflict with the aims of art. We live in capitalism. Its power seems inescapable; so did the divine right of kings. … Power can be resisted and changed by human beings; resistance and change often begin in art, and very often in our art—the art of words. I’ve had a long career and a good one, in good company, and here, at the end of it, I really don’t want to watch American literature get sold down the river.... The name of our beautiful reward is not profit. Its name is freedom.

Philo to Cleanthes, Part V<!--pp. 106-107-->
Dialogues Concerning Natural Religion (1779)
Context: But were this world ever so perfect a production, it must still remain uncertain, whether all the excellencies of the work can justly be ascribed to the workman. If we survey a ship, what an exalted idea must we form of the ingenuity of the carpenter who framed so complicated, useful, and beautiful a machine? And what surprise must we feel, when we find him a stupid mechanic, who imitated others, and copied an art, which, through a long succession of ages, after multiplied trials, mistakes, corrections, deliberations, and controversies, had been gradually improving? Many worlds might have been botched and bungled, throughout an eternity, ere this system was struck out; much labour lost; many fruitless trials made; and a slow, but continued improvement carried on during infinite ages in the art of world-making. In such subjects, who can determine, where the truth; nay, who can conjecture where the probability, lies; amidst a great number of hypotheses which may be proposed, and a still greater number which may be imagined?

Source: Kindergarten Chats (1918), Ch. 4 : The Garden
Context: Is it not Canon Hole who says: "He who would have beautiful roses in his garden, must have beautiful roses in his heart: he must love them well and always"? So, the flowers of your field, in so far as I am gardener, shall come from my heart where they reside in much good will; and my eye and hand shall attend merely to the cultivating, the weeding, the fungous blight, the noxious insect of the air, and the harmful worm below.
And so shall your garden grow; from the rich soil of the humanities it will rise up and unfold in beauty in the pure air of the spirit.
So shall your thoughts take up the sap of strong and generous impulse, and grow and branch, and run and climb and spread, blooming and fruiting, each after its kind, each flowing toward the fulfillment of its normal and complete desire. Some will so grow as to hug the earth in modest beauty; others will rise, through sunshine and storm, through drought and winter's snows year after year, to tower in the sky; and the birds of the air will nest therein and bring forth their young.
Such is the garden of the heart: so oft neglected and despised when fallow.
Verily, there needs a gardener, and many gardens.

Japan, the Beautiful and Myself (1969)
Context: Ryokan, who shook off the modern vulgarity of his day, who was immersed in the elegance of earlier centuries, and whose poetry and calligraphy are much admired in Japan today — he lived in the spirit of these poems, a wanderer down country paths, a grass hut for shelter, rags for clothes, farmers to talk to. The profundity of religion and literature was not, for him, in the abstruse. He rather pursued literature and belief in the benign spirit summarized in the Buddhist phrase "a smiling face and gentle words". In his last poem he offered nothing as a legacy. He but hoped that after his death nature would remain beautiful. That could be his bequest.

All the Pretty Horses (1992)
Context: He remembered Alejandra and the sadness he'd first seen in the slope of her shoulders which he'd presumed to understand and of which he knew nothing and he felt a loneliness he'd not known since he was a child and he felt wholly alien to the world although he loved it still. He thought that in the beauty of the world were hid a secret. He thought the world's heart beat at some terrible cost and that the world's pain and its beauty moved in a relationship of diverging equity and that in this headlong deficit the blood of multitudes might ultimately be exacted for the vision of a single flower.

कला र जीवन (Art and Life)
Art and Life
Context: In the divine talent of the Creator the word got born and we, by studying this creation attain clear messages of Divine Conscience, Divine Truth, Divine Beauty and Divine knowledge. In the creative imagination of the God, completeness works and provides beautiful lines colors forms to the Truth of God. We realize the 'beautiful' through the sensing of Truth and where there is no Truth there isn't beauty. Keats has said that, 'Truth is beauty and beauty is Truth". This Self-Displaying form of God becomes such known in Artistic creativity that truth becoming beautiful descends to the outer forms of the senses.

Genius in Beauty.
The House of Life (1870—1881)

So, the flowers of your field, in so far as I am gardener, shall come from my heart where they reside in much good will; and my eye and hand shall attend merely to the cultivating, the weeding, the fungous blight, the noxious insect of the air, and the harmful worm below.
And so shall your garden grow; from the rich soil of the humanities it will rise up and unfold in beauty in the pure air of the spirit.
So shall your thoughts take up the sap of strong and generous impulse, and grow and branch, and run and climb and spread, blooming and fruiting, each after its kind, each flowing toward the fulfillment of its normal and complete desire. Some will so grow as to hug the earth in modest beauty; others will rise, through sunshine and storm, through drought and winter's snows year after year, to tower in the sky; and the birds of the air will nest therein and bring forth their young.
Such is the garden of the heart: so oft neglected and despised when fallow.
Verily, there needs a gardener, and many gardens.
Source: Kindergarten Chats (1918), Ch. 4 : The Garden

Preface of M. Quetelet
A Treatise on Man and the Development of His Faculties (1842)
Context: The principal artists of the era of the revival of letters, such as Leon Baptista Alberti, Michael Angelo, Leonardo da Vinci, Albert Durer, with many others who what art ought to borrow from science, felt the necessity of resorting to observation, in order to rebuild in some sort the ruined monument of ancient artistical skill. They studied nature in a philosophical manner; sought to strike out the limits within which they ought to confine themselves in order to be truthlike... and from those profound studies which kept them ever before the face of nature, they deduced original views and new models, destined to distinguish for ever that celebrated age. The proportions of the human body did not alone attract their attention: anatomy, perspective, and chemistry, formed parts of their studies; nothing was neglected; and some of these great artists even gained for themselves a first place among the geometers of their day. Their successors have not devoted themselves to such serious studies, and hence it so frequently happens that they are reduced to content themselves, either with copying from those who went before them, or with working after individual models, whose proportions they modify according to mere caprice, without having any just or proper ideas of the beautiful.

Source: Letter to his daughter (1978), p. 80
Context: Africa will rid herself of the maniacs. Africa will live to show that "Black is beautiful". Africa is ancient but Asia is ageless. Her nimble and graceful beauty has adorned civilization from the birth of mankind. Latin America has become the castanet of an international culture that links Andalusia to Arabia and the Caribbean. What beauty there is in the tap of her flamenco! Europe is glamorous and adorable, so seductive that she is still beautiful after a number of face lifts. America has been watergated. In that flow of stagnant waters you can behold beauty in its reflection. In etherial terms the whole world is beautiful. In physical terms I have rarely seen more scenic beauty than in California or in Texas. What pains me is to see how the blind power of that most powerful society is turning that beauty into something as sinister as the portrait of Dorian Grey.

The Paris Review interview (2010)
Context: Our education system has gone to hell. It’s my idea from now on to stop spending money educating children who are sixteen years old. We should put all that money down into kindergarten. Young children have to be taught how to read and write. If children went into the first grade knowing how to read and write, we’d be set for the future, wouldn’t we? We must not let them go into the fourth and fifth grades not knowing how to read. So we must put out books with educational pictures, or use comics to teach children how to read. When I was five years old, my aunt gave me a copy of a book of wonderful fairy tales called Once Upon a Time, and the first fairy tale in the book is “Beauty and the Beast.” That one story taught me how to read and write because I looked at the picture of that beautiful beast, but I so desperately wanted to read about him too.

Thoughts on Beauty in Art- Article in MacMillan's Magazine 1861.
Context: The beautiful in nature is the unmarred result of God's first creative or forming will, and.. the beautiful in art is the result of an unmistaken working of man in accordance with the beautiful in nature.

From title Small Is Beautiful: A Study of Economics As If People Mattered
Attributed

Letter to Hugo Boxel (Oct. 1674) The Chief Works of Benedict de Spinoza (1891) Tr. R. H. M. Elwes, Vol. 2, Letter 58 (54).
Context: Beauty, my dear Sir, is not so much a quality of the object beheld, as an effect in him who beholds it. If our sight were longer or shorter, or if our constitution were different, what now appears beautiful to us would seem misshapen, and what we now think misshapen we should regard as beautiful. The most beautiful hand seen through the microscope will appear horrible. Some things are beautiful at a distance, but ugly near; thus things regarded in themselves, and in relation to God, are neither ugly nor beautiful. Therefore, he who says that God has created the world, so that it might be beautiful, is bound to adopt one of the two alternatives, either that God created the world for the sake of men's pleasure and eyesight, or else that He created men's pleasure and eyesight for the sake of the world. Now, whether we adopt the former or the latter of these views, how God could have furthered His object by the creation of ghosts, I cannot see. Perfection and imperfection are names which do not differ much from the names beauty and ugliness.<!--p. 382

"The Gift of Water" Ch. 18 : The Three Fish, p. 200
The Essential Rumi (1995)
Context: Every object and being in the universe is
a jar overflowing with wisdom and beauty,
a drop of the Tigris that cannot be contained
by any skin. Every jarful spills and makes the earth
more shining, as though covered in satin.

Letter to Juana Gratia (1857)
Context: Now for the other union. The first one sees God as infinitely lovable and beautiful; its aim is the contemplation of his attributes and perfections. The second union sees him as the creator, conserver, governor, redeemer, glorifier and vivifier of the whole world.
At certain moments, the spirit of the Lord will move and lead you towards this second union and you have to cooperate. He will be presented to you as the Lord, king and governor of the world, the Lord God of hosts, and wil take you to objects resembling this presence. Since the first union is not strengthened or prefected or completed except in the second, you need to start by this.

Review of Nausea by Jean-Paul Sartre, published in the newspaper Alger Républicain (20 October 1938), p. 5; also quoted in Albert Camus and the Philosophy of the Absurd (2002) by Avi Sagi, p. 43
Context: It is the failing of a certain literature to believe that life is tragic because it is wretched.
Life can be magnificent and overwhelming — that is its whole tragedy. Without beauty, love, or danger it would be almost easy to live. And M. Sartre's hero does not perhaps give us the real meaning of his anguish when he insists on those aspects of man he finds repugnant, instead of basing his reasons for despair on certain of man's signs of greatness.
The realization that life is absurd cannot be an end, but only a beginning. This is a truth nearly all great minds have taken as their starting point. It is not this discovery that is interesting, but the consequences and rules of action drawn from it.

A Philosopher: On Wonder And Beauty
Jesus, The Son of Man (1928)
Context: He knew the depth of beauty, He was for ever surprised by its peace and its majesty; and He stood before the earth as the first man had stood before the first day.
We whose senses have been dulled, we gaze in full daylight and yet we do not see. We would cup our ears, but we do not hear; and stretch forth our hands, but we do not touch. And though all the incense of Arabia is burned, we go our way and do not smell.

Source: Rigante series, Stormrider, Ch. 7
Context: No need for confusion, my dear Mulgrave [... ] Beautiful wine and sour vinegar come from exactly the same source. Curiously if one leaves a bottle of wine open for long enough it will become vinegar. Happily in this house wine never survives long enough to go bad.

First Ennead, Sixth Tractate, Section 9
The First Ennead (c. 250)

Attributed

Context: Behold, then, a new religion, a new society; upon this twofold foundation there must inevitably spring up a new poetry. Previously following therein the course pursued by the ancient polytheism and philosophy, the purely epic muse of the ancients had studied nature in only a single aspect, casting aside without pity almost everything in art which, in the world subjected to its imitation, had not relation to a certain type of beauty. A type which was magnificent at first, but, as always happens with everything systematic, became in later times false, trivial and conventional. Christianity leads poetry to the truth. Like it, the modern muse will see things in a higher and broader light. It will realize that everything in creation is not humanly beautiful, that the ugly exists beside the beautiful, the unshapely beside the graceful, the grotesque on the reverse of the sublime, evil with good, darkness with light. It will ask itself if the narrow and relative sense of the artist should prevail over the infinite, absolute sense of the Creator; if it is for man to correct God; if a mutilated nature will be the more beautiful for the mutilation; if art has the right to duplicate, so to speak, man, life, creation; if things will progress better when their muscles and their vigour have been taken from them; if, in short, to be incomplete is the best way to be harmonious. Then it is that, with its eyes fixed upon events that are both laughable and redoubtable, and under the influence of that spirit of Christian melancholy and philosophical criticism which we described a moment ago, poetry will take a great step, a decisive step, a step which, like the upheaval of an earthquake, will change the whole face of the intellectual world. It will set about doing as nature does, mingling in its creations — but without confounding them — darkness and light, the grotesque and the sublime; in other words, the body and the soul, the beast and the intellect; for the starting-point of religion is always the starting-point of poetry. All things are connected.
Thus, then, we see a principle unknown to the ancients, a new type, introduced in poetry; and as an additional element in anything modifies the whole of the thing, a new form of the art is developed. This type is the grotesque; its new form is comedy.

Preface to Cromwell (1827) http://www.bartleby.com/39/41.html

Let the Great World Spin (2009), Let the Great World Spin Forever Down
Context: The core reason for it all was beauty. Walking was a divine delight. Everything was rewritten when he was up in the air. New things were possible with the human form. It went beyond equilibrium.
He felt for a moment uncreated. Another kind of awake.

What Is A Jazz Composer? (1971)
Context: Now, whether there is feeling or not depends upon what your environment or your association is or whatever you may have in common with the player. If you feel empathy for his personal outlook, you naturally feel him musically more than some other environmental and musical opposite who is, in a way. beyond you.
I, myself, came to enjoy the players who didn't only just swing but who invented new rhythmic patterns, along with new melodic concepts. And those people are: Art Tatum, Bud Powell, Max Roach, Sonny Rollins, Lester Young, Dizzy Gillespie and Charles Parker, who is the greatest genius of all to me because he changed the whole era around. But there is no need to compare composers. If you like Beethoven, Bach or Brahms, that's okay. They were all pencil composers. I always wanted to be a spontaneous composer. I thought I was, although no one's mentioned that. I mean critics or musicians. Now, what I'm getting at is that I know I'm a composer. I marvel at composition, at people who are able to take diatonic scales, chromatics, 12-tone scales, or even quarter-tone scales. I admire anyone who can come up with something original. But not originality alone, because there can be originality in stupidity, with no musical description of any emotion or any beauty the man has seen, or any kind of life he has lived.

1990s, Inaugural celebration address (1994)
Context: Never, never and never again shall it be that this beautiful land will again experience the oppression of one by another and suffer the indignity of being the skunk of the world.
Let freedom reign!
The sun shall never set on so glorious a human achievement!
God bless Africa!

The Hindustan Times (Nov., 2009)
Context: Pluralism and embracing people of all cultures should be part of our education. The multicultural, multi-religious fabric are the glory and beauty of the planet. If this thought is imparted to children at an early age, they will love the difference. We need to bring about that multi-cultural and multi-ethnic approach, which in Sanskrit we call Vasudhaiva Kutumbakam (The whole world is one family.)
Through right education, we can change and unite the hearts and minds of people. The key is to harness the ancient wisdom and being innovative with the modern. We, as global citizens, should vow to take this responsibility.

No. 13
1790s, Discourses on Davila (1790)
Context: Are riches, honors, and beauty going out of fashion? Is not the rage for them, on the contrary, increased faster than improvement in knowledge? As long as either of these are in vogue, will there not be emulations and rivalries? Does not the increase of knowledge in any man increase his emulation; and the diffusion of knowledge among men multiply rivalries? Has the progress of science, arts, and letters yet discovered that there are no passions in human nature? no ambition, avarice, or desire of fame? Are these passions cooled, diminished, or extinguished? Is the rage for admiration less ardent in men or women? Have these propensities less a tendency to divisions, controversies, seditions, mutinies, and civil wars than formerly? On the contrary, the more knowledge is diffused, the more the passions are extended, and the more furious they grow.

I've Learned Some Things (2008)

Falsehood in Wartime (1928), Introduction
Context: Another effect of the continual appearance of false and biased statement and the absorption of the lie atmosphere is that deeds of real valour, heroism, and physical endurance and genuine cases of inevitable torture and suffering are contaminated and desecrated; the wonderful comradeship of the battlefield becomes almost polluted. Lying tongues cannot speak of deeds of sacrifice to show their beauty or value. So it is that the praise bestowed on heroism by Government and Press always jars, more especially when, as is generally the case with the latter, it is accompanied by cheap and vulgar sentimentality. That is why one instinctively wishes the real heroes to remain unrecognized, so that their record may not be smirched by cynical tongues and pens so well versed in falsehood.

Induction and Analogy in Mathematics (1954)
Context: I... present also examples of historic interest, examples of real mathematical beauty, and examples illustrating the parallelism of the procedures in other sciences, or in everyday life.

" Spring http://www.bartleby.com/122/9.html", stanza 1
Wessex Poems and Other Verses (1918)
Context: Nothing is so beautiful as Spring—
When weeds, in wheels, shoot long and lovely and lush;
Thrush’s eggs look little low heavens, and thrush
Through the echoing timber does so rinse and wring
The ear, it strikes like lightning to hear him sing.

pp 79 - 80.
Letter to his daughter (1978)
Context: Life is a love affair. There is a romance with every beauty of nature. I have no hesitation in saving that my most passionate love affair, my most thrilling romance has been with the people. There is an indissoluble marriage between politics and the people. That is why "Man is a political animal" and the state a political theatre. I have been on this stage of the masters for over twenty tumultuous years. I believe I still have a role to play. I believe the people still want me on this stage, but if I have to bow out, I give you the gift of my feelings. You will fight the fight better than me. Your speeches will be more eloquent than my speeches. Your commitment equally total. There will be more youth and vitality in your struggle. Your deeds ill be more daring. I transmit to you the blessing to the most blessed mission. This is the only present I can give you on your birthdays.

The Saviors of God (1923)
Context: This is our epoch, good or bad, beautiful or ugly, rich or poor — we did not choose it. This is our epoch, the air we breathe, the mud given us, the bread, the fire, the spirit!
Let us accept Necessity courageously. It is our lot to have fallen on fighting times. Let us tighten our belts, let us arm our hearts, our minds, and our bodies. Let us take our place in battle!

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 112

"To a Dog Injured in the Street"
The Desert Music and Other Poems (1954)
Context: The cries of a dying dog
are to be blotted out
as best I can.
René Char
you are a poet who believes
in the power of beauty
to right all wrongs.
I believe it also.
With invention and courage
we shall surpass
the pitiful dumb beasts,
let all men believe it,
as you have taught me also
to believe it.

GWU interview (1997)
Context: You know, you have to really decide where you want to live: if you want to live in the jungle or in the zoo. Because if you want the beauty, if you want freedom, the jungle is... that's your world. But you're in danger there, you have to live with snakes, sharks, tigers, skunks, you know, mosquitoes, leeches. You want to be safe, you have to live in the zoo. You are protected. You know, if you are a lamb, the tiger will not attack you. You know, you'll get a little bit something to eat every day; that's fine. You have to work hard, but you live behind the bars, and what's wonderful — you live there behind the bars and you dream about the beauty of the jungle. Now what happened was that the bars opened, and everybody runs after the dream. And suddenly, well, yeah, it's beautiful — yes, I am free to go wherever I want, do whatever I want, but where do I want to go? Oh, my God, and here is a tiger and here's a snake. Oh, oh, and people have a tendency to, you know, back. And you will be surprised how many people prefer to live in the zoo; they are not ready to pay for the freedom; they think that freedom should be, you know, for free, even for granted, which never is, never is.

The Sense of Wonder (1965)
Context: I sincerely believe that for the child, and for the parent seeking to guide him, it is not half so important to know as to feel. If facts are the seeds that later produce knowledge and wisdom, then the emotions and the impressions of the senses are the fertile soil in which the seeds must grow. The years of early childhood are the time to prepare the soil. Once the emotions have been aroused — a sense of the beautiful, the excitement of the new and the unknown, a feeling of sympathy, pity, admiration or love — then we wish for knowledge about the subject of our emotional response. Once found, it has lasting meaning. It is more important to pave the way for the child to want to know than to put him on a diet of facts he is not ready to assimilate.

On Photography (1977)
Context: Whitman thought he was not abolishing beauty but generalizing it. So, for generations, did the most gifted American photographers, in their polemical pursuit of the trivial and the vulgar. But among American photographers who have matured since World War II, the Whitmanesque mandate to record in its entirety the extravagant candors of actual American experience has gone sour. In photographing dwarfs, you don't get majesty & beauty. You get dwarfs.

"America, Seen Through Photographs, Darkly", p. 29

"Soft Matter" Nobel lecture (9 December 1991) - full text in PDF format http://nobelprize.org/nobel_prizes/physics/laureates/1991/gennes-lecture.html
Context: Benjamin Franklin performed a beautiful experiment using surfactants; on a pond at Clapham Common, he poured a small amount of oleic acid, a natural surfactant which tends to form a dense film at the water-air interface. He measured the volume required to cover all the pond. Knowing the area, he then knew the height of the film, something like three nanometers in our current units. This was to my knowledge the first measurement of the size of molecules. In our days, when we are spoilt with exceedingly complex toys, such as nuclear reactors or synchrotron sources, I particularly like to describe experiments of this Franklin style to my students.
Surfactants allow us to protect a water surface, and to generate these beautiful soap bubbles, which are the delight of our children.

§ IV
1910s, At the Feet of the Master (1911)
Context: See what gossip does. It begins with evil thought, and that in itself is a crime. For in everyone and in everything there is good; in everyone and in everything there is evil. Either of these we can strengthen by thinking of it, and in this way we can help or hinder evolution; we can do the will of the Logos or we can resist Him. If you think of the evil in another, you are doing at the same time three wicked things:
(1) You are filling your neighbourhood with evil thought instead of with good thought, and so you are adding to the sorrow of the world.
(2) If there is in that man the evil which you think, you are strengthening it and feeding it; and so you are making your brother worse instead of better. But generally the evil is not there, and you have only fancied it; and then your wicked thought tempts your brother to do wrong, for if he is not yet perfect you may make him that which you have thought him.
(3) You fill your own mind with evil thoughts instead of good; and so you hinder your own growth, and make yourself, for those who can see, an ugly and painful object instead of a beautiful and lovable one.
Not content with having done all this harm to himself and to his victim, the gossip tries with all his might to make other men partners in his crime. Eagerly he tells his wicked tale to them, hoping that they will believe it; and then they join with him in pouring evil thought upon the poor sufferer. And this goes on day after day, and is done not by one man but by thousands. Do you begin to see how base, how terrible a sin this is? You must avoid it altogether.

Letter to Sister Mary James Power (1 October 1934); published in The Wild God of the World : An Anthology of Robinson Jeffers (2003), edited by Albert Gelpi, p. 189; also partly quoted in the essay "Robinson Jeffers, Pantheist Poet" http://web.archive.org/20011119074326/members.aol.com/PHarri5642/jeffers.htm by John Courtney
Context: I believe that the Universe is one being, all its parts are different expressions of the same energy, and they are all in communication with each other, therefore parts of one organic whole. (This is physics, I believe, as well as religion.) The parts change and pass, or die, people and races and rocks and stars, none of them seems to me important in itself, but only the whole. This whole is in all its parts so beautiful, and is felt by me to be so intensely in earnest, that I am compelled to love it and to think of it as divine. It seems to me that this whole alone is worthy of the deeper sort of love and there is peace, freedom, I might say a kind of salvation, in turning one's affections outward toward this one God, rather than inwards on one's self, or on humanity, or on human imaginations and abstractions — the world of spirits.
I think it is our privilege and felicity to love God for his beauty, without claiming or expecting love from him. We are not important to him, but he to us.

On the variety of characters portrayed in his Narcopolis.
Jeet Thayil on why 'Where are you from?' is a complicated question for all of us
Context: It had people from all over the country and the world. The great thing about Bombay as a city was it was a magnet for anybody with talent, or ambition or hunger, or beauty, or intelligence. If you had any of these things and you wanted to make something of yourself, you went to Bombay and the city would reward you. I think all of that changed in 1992, when the last big riots happened in Bombay between Hindus and Muslims. Now when I go back to the city and I look at it, I can see the kind of profound impact that those riots had, and how it's changed the character of the city, and in such a profound way that I don't think it will ever change back to what it was before '92.

Looking for an Honest Man (2009)
Context: With his attractive picture of human flourishing, Aristotle offers lasting refuge against the seas of moral relativism. Taking us on a tour of the museum of the virtues — from courage and moderation, through liberality, magnificence, greatness of soul, ambition, and gentleness, to the social virtues of friendliness, truthfulness, and wit — and displaying each of their portraits as a mean between two corresponding vices, ­Aristotle gives us direct and immediate experience in seeing the humanly beautiful. Anyone who cannot see that courage is more beautiful than cowardice or rashness, or that liberality is more beautiful than miserliness or prodigality, suffers, one might say, from the moral equivalent of color-blindness.

Saul Leiter: The Quiet Iconoclast (2009)
Context: I never thought of the urban environment as isolating. I leave these speculations to others. It’s quite possible that my work represents a search for beauty in the most prosaic and ordinary places. One doesn’t have to be in some faraway dreamland in order to find beauty. I realize that the search for beauty is not highly popular these days. Agony, misery and wretchedness, now these are worth perusing.

From, On Loving of God, Paul Halsall trans., Ch. 10
Context: Seeing that the Scripture saith, God has made all for His own glory (Isa. 43.7), surely His creatures ought to conform themselves, as much as they can, to His will. In Him should all our affections center, so that in all things we should seek only to do His will, not to please ourselves. And real happiness will come, not in gratifying our desires or in gaining transient pleasures, but in accomplishing God’s will for us: even as we pray every day: ‘Thy will be done in earth as it is in heaven’ (Matt. 6.10). O chaste and holy love! O sweet and gracious affection! O pure and cleansed purpose, thoroughly washed and purged from any admixture of selfishness, and sweetened by contact with the divine will! To reach this state is to become deified. As a drop of water poured into wine loses itself, and takes the color and savor of wine; or as a bar of iron, heated red-hot, becomes like fire itself, forgetting its own nature; or as the air, radiant with sun-beams, seems not so much to be illuminated as to be light itself; so in the saints all human affections melt away by some unspeakable transmutation into the will of God. For how could God be all in all, if anything merely human remained in man? The substance will endure, but in another beauty, a higher power, a greater glory. When will that be? Who will see, who possess it? ‘When shall I come to appear before the presence of God?’ (Ps. 42.2). ‘My heart hath talked of Thee, Seek ye My face: Thy face, Lord, will I seek’ (Ps. 27.8). Lord, thinkest Thou that I, even I shall see Thy holy temple?

Dream Days (1898), The Reluctant Dragon
Context: St. George paced slowly up the street. The Boy's heart stood still and he breathed with sobs, the beauty and the grace of the hero were so far beyond anything he had yet seen. His fluted armour was inlaid with gold, his plumed helmet hung at his saddle-bow, and his thick fair hair framed a face gracious and gentle beyond expression till you caught the sternness in his eyes. He drew rein in front of the little inn, and the villagers crowded round with greetings and thanks and voluble statements of their wrongs and grievances and oppressions. The Boy heard the grave gentle voice of the Saint, assuring them that all would be well now, and that he would stand by them and see them righted and free them from their foe; then he dismounted and passed through the doorway and the crowd poured in after him. But the Boy made off up the hill as fast as he could lay his legs to the ground.

Peter Quince at the Clavier (1915)
Context: Beauty is momentary in the mind —
The fitful tracing of a portal;
But in the flesh it is immortal.
The body dies; the body's beauty lives.
So evenings die, in their green going,
A wave, interminably flowing.
So gardens die, their meek breath scenting
The cowl of winter, done repenting.
So maidens die, to the auroral
Celebration of a maiden's choral.

The good are befriended even by weakness and defect. As no man had ever a point of pride that was not injurious to him, so no man had ever a defect that was not somewhere made useful to him.
1840s, Essays: First Series (1841), Compensation

1960s, Freedom From The Known (1969)
Context: What can a human being do — what can you and I do — to create a completely different society? We are asking ourselves a very serious question. Is there anything to be done at all? What can we do? Will somebody tell us? People have told us. The so-called spiritual leaders, who are supposed to understand these things better than we do, have told us by trying to twist and mould us into a new pattern, and that hasn't led us very far; sophisticated and learned men have told us and that has led us no further. We have been told that all paths lead to truth — you have your path as a Hindu and someone else has his path as a Christian and another as a Muslim, and they all meet at the same door — which is, when you look at it, so obviously absurd. Truth has no path, and that is the beauty of truth, it is living. A dead thing has a path to it because it is static, but when you see that truth is something living, moving, which has no resting place, which is in no temple, mosque or church, which no religion, no teacher, no philosopher, nobody can lead you to — then you will also see that this living thing is what you actually are — your anger, your brutality, your violence, your despair, the agony and sorrow you live in. In the understanding of all this is the truth, and you can understand it only if you know how to look at those things in your life. And you cannot look through an ideology, through a screen of words, through hopes and fears.

"Birthmark" in Paris Review (Spring 2003) http://guccipiggy.objectis.net/prose/birthmark
Context: Now began the part of her life where she was just very beautiful. Except for nothing. Only winners will know what this feels like. Have you ever wanted something very badly and then gotten it. Then you know that winning is many things, but it is never the thing you thought it would be.

1940s, To Every Briton (1940)
Context: I do not want Britain to be defeated, nor do I want her to be victorious in a trial of brute strength, whether expressed through the muscle or the brain. Your muscular bravery is an established fact. Need you demonstrate that your brain is also as unrivaled in destructive power as your muscle? I hope you do not wish to enter into such an undignified competition with the Nazis. I venture to present you with a nobler and a braver way, worthy of the bravest soldier. I want you to fight Nazism without arms, or, if I am to retain the military terminology, with non-violent arms. I would like you to lay down the arms you have as being useless for saving you or humanity. You will invite Herr Hitler and Signor Mussolini to take what they want of the countries you call your possessions. Let them take possession of your beautiful island, with your many beautiful buildings. You will give all these, but neither your souls, nor your minds. If these gentlemen choose to occupy your homes, you will vacate them. If they do not give you free passage out, you will allow yourself, man, woman and child, to be slaughtered, but you will refuse to owe allegiance to them.
This process or method, which I have called non-violent non-co-operation, is not without considerable success in its use in India. Your representatives in India may deny my claim. If they do, I shall feel sorry for them. <!-- They may tell you that our non-co-operation was not wholly non-violent, that it was born of hatred. If they give that testimony, I won’t deny it. Had it been wholly non-violent, if all the non-co-operators had been filled with goodwill towards you, I make bold to say that you who are India’s masters would have become her pupils and, with much greater skill than we have, perfected this matchless weapon and met the German and Italian friends’ menace with it. Indeed the history of Europe during the past few months would then have been written differently. Europe would have been spared seas of innocent blood, the rape of so many small nations, and the orgy of hatred.

Small Houses: Their Economic Design and Construction (1922)
Context: In the human form, as nature tries to make it, every feature is useful and every feature is beautiful. Each member is perfectly adapted to the function it has to perform; nothing is superfluous, yet the whole and every part is supremely decorative.<!-- Introduction

As quoted in Debussy : Musician of France (1957) by Victor Illyitch Seroff, p. 172

Letter to Sophie Germain (30 April 1807) ([...]; les charmes enchanteurs de cette sublime science ne se décèlent dans toute leur beauté qu'à ceux qui ont le courage de l'approfondir. Mais lorsqu'une personne de ce sexe, qui, par nos meurs [sic] et par nos préjugés, doit rencontrer infiniment plus d'obstacles et de difficultés, que les hommes, à se familiariser avec ces recherches épineuses, sait néanmoins franchir ces entraves et pénétrer ce qu'elles ont de plus caché, il faut sans doute, qu'elle ait le plus noble courage, des talents tout à fait extraordinaires, le génie superieur.)
Context: The enchanting charms of this sublime science reveal themselves in all their beauty only to those who have the courage to go deeply into it. But when a person of that sex, that, because of our mores and our prejudices, has to encounter infinitely more obstacles and difficulties than men in familiarizing herself with these thorny research problems, nevertheless succeeds in surmounting these obstacles and penetrating their most obscure parts, she must without doubt have the noblest courage, quite extraordinary talents and superior genius.

"Talk to an Art-Union (A Brooklyn fragment)" http://www.aol.bartleby.com/229/4011.html (1839); later delivered as a lecture at the Brooklyn Art Union (31 March 1851) and printed in the Brooklyn Daily Advertizer (3 April 1851)
Context: It is a beautiful truth that all men contain something of the artist in them. And perhaps it is the case that the greatest artists live and die, the world and themselves alike ignorant what they possess. Who would not mourn that an ample palace, of surpassingly graceful architecture, fill’d with luxuries, and embellish’d with fine pictures and sculpture, should stand cold and still and vacant, and never be known or enjoy’d by its owner? Would such a fact as this cause your sadness? Then be sad. For there is a palace, to which the courts of the most sumptuous kings are but a frivolous patch, and, though it is always waiting for them, not one of its owners ever enters there with any genuine sense of its grandeur and glory.
I think of few heroic actions, which cannot be traced to the artistical impulse. He who does great deeds, does them from his innate sensitiveness to moral beauty.

Book IV, Chapter 4, "Good Infection"
Mere Christianity (1952)
Context: They [Christians] believe that the living, dynamic activity of love has been going on in God forever and has created everything else. And that, by the way, is perhaps the most important difference between Christianity and all other religions: that in Christianity God is not an impersonal thing nor a static thing—not even just one person—but a dynamic pulsating activity, a life, a kind of drama, almost, if you will not think me irreverent, a kind of dance … (The) pattern of this three-personal life is … the great fountain of energy and beauty spurting up at the very center of reality.

On wearing leotards and fishnet stockings in his early performances.
Rolling Stone interview (2003)
Context: I wore that because it makes me look beautiful. I stare at myself in the mirror and I think, "Wow, I'm really great-looking."... I think I'm the greatest, anyway.

Source:"Defence and Illustration of Classical Construction," Cahiers du Cinéma (Paris, Sept. 15, 1952).
Cited in: Fayek S. Hourani, Daily Bread for Your Mind and Soul: A Handbook of Transcultural Proverb and Sayings https://books.google.nl/books?id=ASN8DVH2AgYC&pg=PA169&lpg=PA169&dq=%22Beauty+is+composed+of+an+eternal,+invariable+element+whose+quantity+is+extremely+difficult+to+determine%22&source=bl&ots=JwrnY2eVbL&sig=1XbUReB25BMZsF5sXNTPqHqhwJU&hl=nl&sa=X&ved=0ahUKEwiMjZS2rJ_LAhUqGZoKHfIWBvMQ6AEIOzAE#v=onepage&q=%22Beauty%20is%20composed%20of%20an%20eternal%2C%20invariable%20element%20whose%20quantity%20is%20extremely%20difficult%20to%20determine%22&f=false, 2012, p. 169

Small Houses: Their Economic Design and Construction (1922)

449: I died for Beauty —
The Complete Poems of Emily Dickinson (1960)
Context: I died for Beauty — but was scarce
Adjusted in the Tomb,
When One who died for Truth, was lain
In an adjoining Room — He questioned softly "Why I failed"?
"For Beauty," I replied.
"And I — for Truth, — Themself are One —
We Brethren, are", He said —

Japan, the Beautiful and Myself (1969)
Context: Dr. Yashiro Yukio, internationally known as a scholar of Botticelli, a man of great learning in the art of the past and the present, of the East and the West, has summed up one of the special characteristics of Japanese art in a single poetic sentence: "The time of the snows, of the moon, of the blossoms — then more than ever we think of our comrades." When we see the beauty of the snow, when we see the beauty of the full moon, when we see the beauty of the cherries in bloom, when in short we brush against and are awakened by the beauty of the four seasons, it is then that we think most of those close to us, and want them to share the pleasure. The excitement of beauty calls forth strong fellow feelings, yearnings for companionship, and the word "comrade" can be taken to mean "human being". The snow, the moon, the blossoms, words expressive of the seasons as they move one into another, include in the Japanese tradition the beauty of mountains and rivers and grasses and trees, of all the myriad manifestations of nature, of human feelings as well.

1930s, Obituary for Emmy Noether (1935)
Context: The efforts of most human-beings are consumed in the struggle for their daily bread, but most of those who are, either through fortune or some special gift, relieved of this struggle are largely absorbed in further improving their worldly lot. Beneath the effort directed toward the accumulation of worldly goods lies all too frequently the illusion that this is the most substantial and desirable end to be achieved; but there is, fortunately, a minority composed of those who recognize early in their lives that the most beautiful and satisfying experiences open to humankind are not derived from the outside, but are bound up with the development of the individual's own feeling, thinking and acting. The genuine artists, investigators and thinkers have always been persons of this kind. However inconspicuously the life of these individuals runs its course, none the less the fruits of their endeavors are the most valuable contributions which one generation can make to its successors.

"Talk to an Art-Union (A Brooklyn fragment)" http://www.aol.bartleby.com/229/4011.html (1839); later delivered as a lecture at the Brooklyn Art Union (31 March 1851) and printed in the Brooklyn Daily Advertizer (3 April 1851)
Context: It is a beautiful truth that all men contain something of the artist in them. And perhaps it is the case that the greatest artists live and die, the world and themselves alike ignorant what they possess. Who would not mourn that an ample palace, of surpassingly graceful architecture, fill’d with luxuries, and embellish’d with fine pictures and sculpture, should stand cold and still and vacant, and never be known or enjoy’d by its owner? Would such a fact as this cause your sadness? Then be sad. For there is a palace, to which the courts of the most sumptuous kings are but a frivolous patch, and, though it is always waiting for them, not one of its owners ever enters there with any genuine sense of its grandeur and glory.
I think of few heroic actions, which cannot be traced to the artistical impulse. He who does great deeds, does them from his innate sensitiveness to moral beauty.

"Of Love" as translated in The Infinite in Giordano Bruno : With a Translation of His Dialogue, Concerning the Cause, Principle, and One (1978) by Sidney Thomas Greenburg, p. 89
Variant translation:
Cause, Principle and One, the Sempiterne,
On whom all being, motion, life, depend.
From whom, in length, breadth, depth, their paths extend
As far as heaven, earth, hell their faces turn :
With sense, with mind, with reason, I discern
That not, rule, reckoning, may not comprehend
That power and bulk and multitude which tend
Beyond all lower, middle, and superne. <p> Blind error, ruthless time, ungentle doom,
Deaf envy, villain madness, zeal unwise,
Hard heart, unholy craft, bold deeds begun,
Shall never fill for one the air with gloom,
Or ever thrust a veil before these eyes,
Or ever hide from me my glorious sun.
As quoted in "Giordano Bruno" by Thomas Davidson, The Index Vol. VI. No. 36 (4 March 1886), p. 429
Cause, Principle, and Unity (1584)
Context: Cause, Principle, and One eternal
From whom being, life, and movement are suspended,
And which extends itself in length, breadth, and depth,
To whatever is in Heaven, on Earth, and Hell;
With sense, with reason, with mind, I discern,
That there is no act, measure, nor calculation, which can comprehend
That force, that vastness and that number,
Which exceeds whatever is inferior, middle, and highest;
Blind error, avaricious time, adverse fortune,
Deaf envy, vile madness, jealous iniquity,
Crude heart, perverse spirit, insane audacity,
Will not be sufficient to obscure the air for me,
Will not place the veil before my eyes,
Will never bring it about that I shall not
Contemplate my beautiful Sun.

Source: The Soul of a Butterfly (2004), p. xxiii
Context: Wouldn't it be a beautiful world if just 10 percent of the people who believe in the power of love would compete with one another to see who could do the most good for the most people? So many of us enjoy taking part in competitions, why not hold a competition of love instead of one that leads to jealousy and envy? If we continue to think and live as if we belong only to different cultures and different religions, with separate missions and goals, we will always be in self-defeating competition with each other.

Source: Flatland: A Romance of Many Dimensions (1884), PART II: OTHER WORLDS, Chapter 18. How I came to Spaceland, and What I Saw There
Context: An unspeakable horror seized me. There was a darkness; then a dizzy, sickening sensation of sight that was not like seeing; I saw a Line that was no Line; Space that was not Space: I was myself, and not myself. When I could find voice, I shrieked aloud in agony, "Either this is madness or it is Hell." "It is neither," calmly replied the voice of the Sphere, "it is Knowledge; it is Three Dimensions: open your eye once again and try to look steadily."I looked, and, behold, a new world! There stood before me, visibly incorporate, all that I had before inferred, conjectured, dreamed, of perfect Circular beauty. What seemed the centre of the Stranger's form lay open to my view: yet I could see no heart, nor lungs, nor arteries, only a beautiful harmonious Something — for which I had no words; but you, my Readers in Spaceland, would call it the surface of the Sphere.

Part I, Ch. VII : The Palace Beautiful
The Pilgrim's Progress (1678), Part I

Afterpiece : a hidden inscription on the Sigil of Scoteia (and so spelled, in a peculiar modification of Roman capital letters)
The Cream of the Jest (1917)
Context: James Branch Cabell made this book so that he who wills may read the story of mans eternally unsatisfied hunger in search of beauty. Ettarre stays inaccessible always and her lovliness is his to look on only in his dreams. All men she must evade at the last and many ar the ways of her elusion.

It has no technique and therefore no authority. When you learn about yourself, watch yourself, watch the way you walk, how you eat, what you say, the gossip, the hate, the jealousy — if you are aware of all that in yourself, without any choice, that is part of meditation.
1960s, Freedom From The Known (1969)

Vol. VI, p. 116, Vol. VIII, p. 266ff.
Joannis Kepleri Astronomi Opera Omnia, ed. Christian Frisch (1858)
Context: I certainly know that I owe it [the Copernican theory] this duty, that as I have attested it as true in my deepest soul, and as I contemplate its beauty with incredible and ravishing delight, I should also publicly defend it to my readers with all the force at my command.

"To David in Heaven", St. 10.
Undertones (1883)
Context: Upward my face I turn to you,
I long for you, I yearn to you,
The spectral vision trances me to utt'rance wild and weak;
It is not that I mourn you,
To mourn you were to scorn you,
For you are one step nearer to the beauty singers seek.
But I want, and cannot see you,
I seek and cannot find you,
And, see! I touch the book of songs you tenderly left behind you!

Lisbeth of Jarnfjeld (1930), p. 52
Context: Lisbeth was his — she was his... the words became a beautiful and tender hymn glorifying a love which triumphed over all worldly vicissitudes. The hymn resounded over all the plains, over the ice and snows. In the name of Christ Jesus, he raised the chalice to Bjorn's mouth. In the name of Christ Jesus!

Last Talks at Saanen, 1985 (1987), p. 158
1980s
Context: The questioner says, how can the conditioned brain grasp the unlimited, which is beauty, love, and truth? What is the ground of compassion and intelligence, and can it come upon us — each one of us? Are you inviting compassion? Are you inviting intelligence? Are you inviting beauty, love, and truth? Are you trying to grasp it? I am asking you. Are you trying to grasp the quality of intelligence, compassion, the immense sense of beauty, the perfume of love and that truth which has no path to it? Is that what you are grasping — wanting to find out the ground upon which it dwells? Can the limited brain grasp this? You cannot possibly grasp it, hold it. You can do all kinds of meditation, fast, torture yourself, become terribly austere, having one suit, or one robe. All this has been done. The rich cannot come to the truth, neither the poor. Nor the people who have taken a vow of celibacy, of silence, of austerity. All that is determined by thought, put together sequentially by thought; it is all the cultivation of deliberate thought, of deliberate intent.

Draft for a Statement of Human Obligation (1943)
Context: There is a reality outside the world, that is to say, outside space and time, outside man's mental universe, outside any sphere whatsoever that is accessible to human faculties.
Corresponding to this reality, at the centre of the human heart, is the longing for an absolute good, a longing which is always there and is never appeased by any object in this world.
Another terrestrial manifestation of this reality lies in the absurd and insoluble contradictions which are always the terminus of human thought when it moves exclusively in this world.
Just as the reality of this world is the sole foundation of facts, so that other reality is the sole foundation of good.
That reality is the unique source of all the good that can exist in this world: that is to say, all beauty, all truth, all justice, all legitimacy, all order, and all human behaviour that is mindful of obligations.
Those minds whose attention and love are turned towards that reality are the sole intermediary through which good can descend from there and come among men.
Although it is beyond the reach of any human faculties, man has the power of turning his attention and love towards it.
Nothing can ever justify the assumption that any man, whoever he may be, has been deprived of this power.
It is a power which is only real in this world in so far as it is exercised. The sole condition for exercising it is consent.
This act of consent may be expressed, or it may not be, even tacitly; it may not be clearly conscious, although it has really taken place in the soul. Very often it is verbally expressed although it has not in fact taken place. But whether expressed or not, the one condition suffices: that it shall in fact have taken place.
To anyone who does actually consent to directing his attention and love beyond the world, towards the reality that exists outside the reach of all human faculties, it is given to succeed in doing so. In that case, sooner or later, there descends upon him a part of the good, which shines through him upon all that surrounds him.

St. 2.
Dejection: An Ode (1802)

As quoted in Stevie Wonder (1978) by Constanze Elsner, and Jet Vol. 53, No. 22 (16 February 1978), p. 60
1970s
Context: Sometimes I think I would love to see … just to see the beauty of flowers and trees and birds and the earth and grass. … Being as I've never seen, I don't know what it's like to see. So in a sense I'm complete. Maybe I'd be incomplete if I did see. Maybe I'd see some things that I didn't want to see... the beauty of the earth compared to the destruction of man. You see, it's one thing when you are blind from birth, and you don't know what it's like to see, anyway, so it is just like seeing. The sensation of seeing is not one that I have and not one that I worry about.

IV. That the species of myth are five, with examples of each.
On the Gods and the Cosmos
Context: The mixed kind of myth may be seen in many instances: for example they say that in a banquet of the Gods Discord threw down a golden apple; the Goddesses contended for it, and were sent by Zeus to Paris to be judged. Paris saw Aphrodite to be beautiful and gave her the apple. Here the banquet signifies the hypercosmic powers of the Gods; that is why they are all together. The golden apple is the world, which being formed out of opposites, is naturally said to be "thrown by Discord." The different Gods bestow different gifts upon the world, and are thus said to "contend for the apple." And the soul which lives according to sense — for that is what Paris is — not seeing the other powers in the world but only beauty, declares that the apple belongs to Aphrodite.

Ich überhaupt vielseitigkeit nicht recht mag, oder eigentlich nicht recht daran glaube. Was eigenthümlich, und schön, und groß sein soll, das muß einseitig sein.
Letter to his parents, June 6, 1831, cited from Reisebriefe von Felix Mendelssohn Bartholdy: Aus den Jahren 1830 bis 1832 (Leipzig: Hermann Mendelssohn, 1862) p. 157; translation from Lady Wallace (trans.) Letters from Italy and Switzerland (Philadelphia: Frederick Leypoldt, 1863)

How to be Lovely‎ (2005)